Friday, May 08, 2026
Obituary for Caroline Clemmons (Carolyn Smith)
Monday, May 04, 2026
Carolyn Smith 1940-2026
On the evening of Wednesday, April 29th, Carolyn Smith, who wrote 92 romances as Caroline Clemmons, went into respiratory failure. She was moved into hospice on Thursday and died at 12:45 Friday, May 1, 2026. She is survived by her two children, Stephanie Suesan Smith and Stacy Barbara 'Bea' Smith. We believe that whatever the technical reason mom died, she really died of a broken heart. She missed her Hero so much that, eleven months after his death, she followed him. They are together again and dancing through eternity together.
In lieu of flowers, Carolyn has asked that donations be made to Ridglea Christian Church, 6720 West Elizabeth Lane, Ft. Worth, TX 76116.
Friday, May 01, 2026
The Magic of a Well-Placed Thunderstorm in Western Romance by Caroline Clemmons
A thunderstorm builds slowly on the plains. The air turns heavy and still. The sky goes a strange, bruised color. Birds go quiet. And then the first wind hits—hard enough that dust swirls up in sheets and every window and door slams at once. For the people who lived on the frontier, that storm was not scenery. It was a force they had to reckon with, find shelter against, and survive.
For the writer of Western romance, that same storm can be one of the most useful tools in the entire story. A well-placed thunderstorm does more than soak your characters and ripple the pond water in a tense outdoor scene. It changes the rules. It forces decisions. It creates the kind of situation that moves your love story forward in ways that nothing else quite can.
I've used storms in my own western romances, and I'm never more conscious of the power of weather than when I'm writing one. Here's why a thunderstorm, dropped into the right moment of your story, can work genuine magic on the page.
The Great Plains and the Weather That Named It
Let's start with the history, because the weather of the frontier is part of what makes a storm scene feel authentic rather than convenient.
The Great Plains earned a reputation for extreme weather that preceded settlement and endured long after. Settlers' diaries from the 1860s and 1870s described storms of remarkable violence: incredible lightning displays, hail the size of eggs, wind strong enough to flatten buildings, and thunder that shook the ground. These were not exaggerations. The Plains were—and still are—a place where the atmosphere can turn lethal with almost no warning.
The thunderstorm season moved north through spring and summer, starting in Texas in April and progressing to Nebraska and the Dakotas by June. For frontier families, this was a predictable cycle and an unpredictable threat. The weather was talked about constantly. It controlled conversations, decisions, and survival plans.
That cultural reality gives the writer of Western historical fiction a storm that readers instinctively believe in. When a storm rolls in on your characters, it carries the weight of real history behind it. That authenticity matters—even when the story is doing something entirely romantic.
The Forced Proximity That Changes Everything
Of all the things a thunderstorm can do for a Western romance, forced proximity is the most reliable—and the most productive.
A storm does not care about social conventions. It does not pause because the heroine and hero have been maintaining a careful emotional distance for three chapters. It drives them under the same roof, into the same barn, or behind the same rock, and it does so with enough urgency that neither of them can reasonably refuse.
They are close. They are wet. The thunder shakes the beams above their heads. The candles gutter. The world outside is loud and dangerous, and the world inside is small and intimate. Every conversation that follows happens in a voice lower than it would have been in daylight. Every touch is more noticeable. Every silence carries weight.
That is the exact environment in which emotional walls crack. People say things in a storm they would not say on a sunny afternoon. They reveal fears they have kept quiet. They look at each other without the usual distractions. The storm does not manufacture intimacy—it creates the conditions for it to emerge on its own.
And for the writer, it does all of this without a single expository line about "now we are spending more time together." The weather has done the work.
The External Conflict That Pushes the Story Forward
A thunderstorm is more than a mood setter. It is a plot device that creates real problems your characters have to solve.
Maybe the storm washes out the bridge on the only road back to town, stranding your characters for an extra day and upending their plans. Maybe it drives a calf or a horse loose, forcing the hero and heroine to go look for it together in conditions that are anything but safe. Maybe it damages the roof of the ranch house, and while the men outside fight to get a tarp on, the women inside manage a crisis of their own.
In Western historical fiction, weather was not an inconvenience. It was a survival challenge. The frontier lacked modern forecasting, reliable shelter, and the infrastructure that could have reduced storm damage. A severe thunderstorm on the plains in the 1870s or 1880s could leave a family isolated for days, destroy crops, injure livestock, or worse.
When you write a storm scene with that reality in mind, it stops being window dressing and starts being drama. The characters act because they have to act. They make choices under pressure. And the choices they make reveal who they really are—which is always what good fiction is about.
The Lightning That Marks a Story Moment
There is a specific kind of thunderstorm scene that lingers in a reader's memory long after the book is closed.
It happens this way: the rain is already falling. The characters are already inside, already close. They are talking—or arguing—and then lightning strikes close enough to light the room bright white for a heartbeat. The thunder hits almost immediately after, a crack so close it feels personal. In that split second, one of them moves—reaching, pulling, protecting—and the distance that has existed between them for the entire story collapses in an instant.
This is the moment every Western romance writer loves to set up. The storm does not create the attraction. The attraction has been building for chapters. The storm simply provides the right environmental pressure to make it surface.
But it deserves to be used carefully. A lightning strike that coincides with every confession of love in a book starts to feel manipulative. Used once, at the right moment, with real buildup behind it—it can be one of the most memorable scenes in the entire story.
The Storm as Character and Mirror
Sometimes the weather does more than create a scene. It mirrors what is already happening inside the characters.
A simmering argument between two people who are not yet honest with each other about what they are feeling? That sets up beautifully against the building air before a storm—the pressure rising, the silence thick, the knowing that something has to break.
A moment of clarity or emotional release between two people who have finally stopped lying to each other? That feels right coming on the other side of a storm, when the rain has washed the dust from the air and the world has gone quiet in a way it never is while the storm is still raging.
The best storm scenes don't force emotions onto characters who don't have them. They take the emotions already there and give them a physical language: the crack of thunder for confrontation, the hush after the rain for resolution, the first breaking sunlight for a new beginning.
Writing Storms That Feel Real
A few things I keep in mind when I write a storm scene in a western romance:
Geography matters. A thunderstorm on the flat Kansas prairie looks and behaves differently from one in the hill country of Texas. The sky opens wider on flat ground. There is less shelter. The wind has more room to run.
The characters respond like people from that time. Frontier families had storm cellars, thick-set buildings, wind-bent fence posts, and a healthy respect for weather. They did not panic, but they acted quickly and practically.
The aftermath carries weight. Storms left damage in the historical West. Broken fence, scattered livestock, soaked hay, a creek running four feet above where it ran yesterday. Letting your characters deal with that morning-after reality grounds the scene in real consequence.
The goal is not to write a meteorology report. It is to write a scene that feels earned and true—where the storm is not a cheap trick but a genuine turning point in the story.
Why Readers Never Get Tired of This Scene
There is a reason this storm scene appears and reappears across western romance novels generation after generation. Readers don't avoid it. They look for it. They savor it.
Because beneath the thunder and the rain and the dripping barn doors is something universal and human: the moment two people find themselves in the kind of situation that strips away everything except what is real between them.
The storm doesn't do the falling in love. It just clears the ground so both characters can finally see it happening.
Monday, April 27, 2026
A Rose Out of Time by Kelly Boggs
Book Blurb:
Excerpt:
Author Bio:
Wednesday, April 22, 2026
Secrets in the Sand by Alana Lorens
Book Blurb:
Excerpt:
Author Bio:
Author Links
Monday, April 20, 2026
Devil's Advocate by M.J. Schiller
Book Blurb:
The verdict’s in. He’s guilty of falling for the opposing counsel.
Nick Adams doesn’t have time for the existential crisis he’s having.
But when I wind up being charged with contempt of court and discover her at the shelter where I’m serving community service, she brings out a side of me I’ve never seen. Could this be the true Nick?
B.J. McCaffrey doesn’t form attachments with anyone.
And playboy counselor Nick Adams would be the last person on the list if I did. But, then again, this isn’t exactly the Nick Adams that people have made him out to be.
Could he heal his broken heart by discovering that, despite outward appearances, she has one? One thing’s for sure. It’s hell being the DEVIL’S ADVOCATE!
Excerpt:
Author Bio:
Monday, April 13, 2026
The Protection Agreement by A. Akinosho
He was hired to be her shield, but he never expected she’d
be the one to pierce his heart.
The Protection
Agreement
The Agreement Series Book 4
by A Akinosho
Genre: Age Gap Billionaire Bodyguard Romance
Duty or desire—he’s
sworn to keep her alive.
But staying close blurs the line.
When a threat puts her life in danger, there’s only one man capable of
protecting her—a ruthless bodyguard with a fearsome reputation and loyalty
carved into his bones. The problem? His family and hers are sworn enemies. And
he learned to hate her last name long before he ever knew her.
This is duty.
A contract.
Nothing more.
Shared space. Constant protection.
No attachment. No temptation.
Forced proximity turns restraint into tension. Hatred softens. Awareness
sharpens. Desire becomes impossible to ignore.
She’s a damsel in distress who refuses to be fragile. He’s a possessive
protector bound by duty, fighting feelings he has no right to claim. Every
glance is forbidden. Every moment together is a betrayal written in silence.
As enemies close in and pressure mounts, distance becomes impossible.
Because the longer he stands between her and danger, the harder it is to
remember where duty ends—and desire begins.
He was sworn to keep her alive.
He just wasn’t prepared for what it would cost him.
Touch her… and die?
**NEW RELEASE ON APRIL 24TH!!**
Bruce
Lexi returns from her room and takes the seat next to
me. I’ve concluded that we are fighting
a losing battle. It’s just a matter of time before the attraction between us
takes over and its fiery flame burns through us. We are quiet, our eyes are trained
on the movie even as I’m provocatively attune to her presence, her allure is
seeping into every nook and cranny of my being. It doesn’t take long before she leans into
me. I don’t move out of her reach. She’s soft and warm in my arms and my whole
being is responding to her closeness. I need to get her in bed. I move
her head from my shoulder.
“Hmm,” she groans. “Kiss me, Bruce,” she whispers. I pause
for a moment, convinced I didn’t hear her.
“What did you say?” I ask, betting
she doesn’t realize what she asked of me.
“Kiss me, Bruce,” she says, her voice barely audible. “I
want you to kiss me. I took my meds.“ A chuckle
escapes her “Be aware that I may not remember in the morning, so make it good
so I can dream of you.” She grins, though a bit out of it.
I want her to remember, and I shouldn’t grant her request,
but I’ve been dying to kiss her, so who am I to deny her request especially
when she wants to dream of me. I shift positions so she’s on her back and I
kiss her lips gently and she opens her mouth to let me in. I kiss her with the
fervor of a starved man that I am. Her tongue swirls sweetly with mine. She
wraps her arms around my neck and pulls me closer and deeper to her. My tongue
is seeking every inch of her mouth, my body is intensely aroused. A soft moan
escapes her, it sends a charge through my body.
I can probably make love to her now and she wouldn’t stop me,
but I also want her sober and consenting plus I want her to always remember us,
every touch, every kiss and every thrust of me inside her. I slowly pull away.
Breaking the sweet feel of our kiss.
Fuck, I just
kissed Jonah’s girl and I fucking like it.
She smiles. “Goodnight, Bruce.”
She turns to her side and sleeps like she didn’t just break through
every resistance shield of mine. I sigh because looking at her, I want more. I
feel it in the blood thumping in my veins. My ragged breath that I fucking need
to control. My hands running through my hair in exasperation of what I’ve just
done. I know there’s no going back now.
Leaning down, I lift
her in my arms. She giggles like a little girl. I should leave her in her room,
but I’ve a need for her closeness, I can’t explain or control. I move
slowly with her asleep in my arms and place her gently in my bed. She curls to
her side and sleeps off. I sit on the bed for a moment watching her, “she
can’t leave” the voice that slams in my head. Just as Declan’s words a
while ago “when you kiss the one, you never want another” I feel the
weight of what I’ve done. Kissed the one but she belongs to another man and not
just any man. A man that hates my guts, paid me to keep her safe and sternly
warned me not to touch her. I now know why, he made that request because he knows
once I did.
He and I would be at war. Yet I find myself willing to go to
war for her. Damn it
I move closer and kiss her temple, my palm gently touching
her face. A giggle escapes her and I wonder if she’s dreaming of me. I cover her and get off the bed. I go into
the bathroom to shower and relieve the monster awakening between my legs. I get
temporary relief. Wrapping my towel around my waist. I peep to check on her.
She’s knocked out. I put sleeping pants on and get in bed with her, pulling her
into my arms and she doesn’t resist.
**Don’t miss the
rest of the books in the series!**
Find them on Amazon
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Friday, April 10, 2026
Five Ways Easter and Spring Appear in Western Fiction by Caroline Clemmons
Spring arrives differently on the frontier. There are no department store window displays, no pastel ribbons tied to city lampposts. Instead, spring shows up in the smell of thawing earth, the sound of creeks running high with snowmelt, and the first brave wildflowers pushing through soil that seemed dead just weeks before. For readers and writers of western historical fiction, that rawness makes spring—and Easter—even more meaningful.
Here are five ways Easter and spring naturally appear in western historical fiction, and why those moments resonate so deeply with readers.
1. Easter Sunday Services in Frontier Towns and Homesteads
Church was one of the few community institutions that took root almost as soon as settlers did, and Easter Sunday was one of its biggest days of the year. In western historical fiction, an Easter service can do a remarkable amount of storytelling work in just a few pages.
Picture a small congregation crowded into a clapboard church barely bigger than a barn, or a circuit preacher arriving on horseback just in time to hold services under an open sky. Easter meant:
- Families dressed in their very best, even if "best" meant a clean calico dress and boots polished with tallow.
- Communities gathering from miles around—ranches, homesteads, and town lots alike.
- Hymns sung without instruments, or accompanied by a battered pump organ someone hauled west in a wagon.
- Sermons about resurrection and hope that meant something particular to people who had lost so much to weather, illness, and distance.
For characters carrying grief—a widow rebuilding after loss, a rancher starting over after a failed first venture—that Easter message lands differently than it would in a comfortable eastern parlor. And for readers, those scenes carry genuine emotional weight.
2. Spring Planting as a Symbol of Hope and Survival
In the historical West, spring planting was not optional. It was the difference between eating and not eating come winter. That urgency gives spring garden and field scenes a tension that purely decorative settings never quite achieve.
In western historical fiction, the planting season often marks a turning point:
- A new widow deciding whether to stay on her land or sell out plants her first spring garden alone—and her choice to press seeds into the soil is her answer.
- A hero and heroine who have been circling each other warily find common ground working side by side to get crops in before a coming storm.
- A homesteader's first kitchen garden signals permanence; she is no longer just surviving—she is building something.
Seed catalogs, which began reaching frontier homes in the latter half of the nineteenth century, appear in period fiction as small miracles. Imagine a woman poring over descriptions of vegetables and flowers she has never grown, making careful choices about what to order with very little money. That catalog is her plan for the future written on paper.
Spring planting also carried the weight of everything that could go wrong—late frost, drought, grasshoppers, flooding. That vulnerability keeps frontier hope from feeling naive. These characters know the risks. They plant anyway.
3. Wildflowers and the Return of Color to the Land
After a hard western winter, color comes back to the land gradually and then all at once. For readers and writers of western historical fiction, that return of color is deeply satisfying—and symbolically rich.
Different regions brought different blooms:
- Texas hill country and prairies burst with bluebonnets, Indian paintbrush, and evening primrose in March and April.
- The Kansas and Nebraska plains saw pasqueflowers pushing through while snow still patched the ground.
- The Colorado foothills offered early shooting stars and golden banner along creek banks before the higher elevations had thawed.
In fiction, wildflowers can mark the emotional turning point of a story. A heroine who arrived in the West in the dead of winter, doubting every choice she made, steps outside one April morning to find the world has gone gold and blue while she wasn't looking. It doesn't fix her problems, but it gives her a reason to stay.
Wildflowers also give western heroes a rare chance at tenderness. A rough-edged rancher who stops work to let a patch of wild columbine bloom undisturbed, or who brings a handful of field flowers to a woman who has had very few gentle moments—those small details build character quietly and effectively.
4. Easter Traditions Carried West From Home
Frontier families did not leave all their traditions behind when they crossed the Mississippi. They carried them west in memory and practice, adapting as needed with whatever materials the land offered.
Easter traditions that appear in western historical fiction include:
- Egg dyeing with natural materials: onion skins for gold and rust tones, beet juice for pink, walnut hulls for brown. Frontier women were resourceful, and their Easter eggs were no less beautiful for being made without store-bought dye.
- Easter baskets filled with what was available: dried fruit, a small paper of hard candy, a new hair ribbon if the family could manage it.
- Special Easter meals: a ham if the smokehouse allowed, fresh bread, a cake or pie that represented real sacrifice in sugar and flour.
- New clothes for Easter Sunday—or the wish for them. A child's longing for a new dress or a young woman carefully mending her best outfit to be presentable can tell you everything about her circumstances without a word of explanation.
These traditions, adapted to frontier conditions, connect characters to the homes and families they left behind. They also show readers that the West was settled by whole people—people who missed things, who tried to hold onto beauty even when life was hard, and who believed that celebration still mattered when there wasn't much to spare.
5. Spring as the Season of New Beginnings in the Story Arc
In western historical fiction, spring often arrives at the same time a romance is finding its footing—and that parallel rarely feels accidental. The season does thematic work that supports the story without the author having to spell it out.
Spring in the story arc can signal:
- A fresh start after winter hardship: Two characters who weathered something difficult together—a blizzard, a cattle loss, an illness—emerge into spring changed, and closer.
- The reopening of possibilities: Trails that were impassable in winter are clear. New people arrive in town. Old grudges feel less fixed when the air smells like green grass and wild onion.
- The approach of a deadline: Spring also brings roundup, trail drives, and planting urgency. Those practical pressures push characters toward decisions they have been avoiding all winter.
One of the things I love most about writing western historical fiction is that the land itself keeps time. Readers feel the turn of the seasons as a real, physical thing—not just a backdrop, but a participant in the story. Spring's arrival, with all its wildness and hope and risk, is one of the most powerful tools a Western author has.
Whether it's an Easter Sunday that draws a lonely widow back into her community, a garden planted as an act of stubborn faith, or a hillside gone brilliant with wildflowers overnight, spring in the historical West carries a particular kind of promise. It has been tested by winter. It knows what it costs to return. And it comes back anyway—which is really the heart of every good Western romance.
Wednesday, April 08, 2026
Wind from the Abyss by Janet Morris
Aristocrat. Outcast. Picara. Slave. Ruler ....
She is descended from the masters of the universe.
To hold her he challenges the gods
themselves.
Wind From the Abyss
The Silistra Quartet Book 3
by Janet Morris
Genre: Dystopian Epic SciFi Fantasy Romance
Dystopia. Fantasy. Science fiction. Allegory. Political.
Wind from the Abyss is the third volume in Janet Morris'
classic Silistra Quartet, continuing one woman's quest for self-realization in
a distant tomorrow.
Aristocrat. Outcast. Picara. Slave. Ruler .... She is
descended from the masters of the universe. To hold her he challenges the gods
themselves.
Praise for Janet Morris' Silistra Quartet:
"The amazing and erotic adventures of the most
beautiful courtesan in tomorrow's universe." -- Fred Pohl
"Engrossing characters in a marvelous adventure."
-- Charles N. Brown, Locus Magazine.
"The best single example of prostitution used in
fantasy is Janet Morris' Silistra series." -- Anne K. Kahler, The
Picara: From Hera to Fantasy Heroine.
This Perseid Press Author's Cut Edition is revised and
expanded by the author and presented in a format designed to enhance your
reading experience with larger, easy-to-read print, more generous margins, and
covers designed for these premium editions.
Wind from the Abyss starts with this . . .
"Since, at the beginning of this tale, I did not
recollect myself nor retain even the slightest glimmer of such understanding as
would have led me to an awareness of the significance of the various
occurrences that transpired at the Lake of Horns, I am adding this preface,
though it was no part of my initial conception, that the meaningfulness of the
events described by "Khys' Estri" (as I have come to think of the
shadow-self I was while the dharen held my skills and memory in abeyance) not
be withheld from you as they were from me. I knew myself not: I was Estri
because the girl Carth supposedly found wandering in the forest stripped of
comprehension and identity chose that name. There, perhaps, lies the greatest
irony of all, that I named myself anew after Estri Hadrath diet Estrazi, who in
reality I had once been. And perhaps it is not irony at all, but an expression
of Khys' humor, an implicit dissertation by him who structured my experiences,
my very thoughts, for nearly two years, until his audacity drove him to bring
together once more Sereth crill Tyris, past-Slayer, then the outlawed Ebvrasea,
then arrar to the dharen himself; Chayin rendi Inekte, cahndor of Nemar,
co-cahndor of the Taken Lands, chosen son of Tar-Kesa, and at that time Khys'
puppet-vassal; and myself, former Well-Keepress, tiask of Nemar, and lastly
becoming the chaldless outlaw who had come to judgment and endured ongoing
retribution at the dharen's hands. To test his hesting, his power over owkahen,
the time-coming-to-be, did Khys put us together, all three, in his Day-Keeper's
city -- and from that moment onward, the Weathers of Life became fixed:
siphoned into a singular future; sealed tight as a dead god in his mausoleum,
whose every move brought him closer to the sum total, obliteration. So did the
dharen Khys bespeak it, himself. . ."
“Morris, so good
at giving us characters we can identify with, characters we can love and hate,
strikes at the very heart of the human condition and the duality of humanity —
both good and evil. Her prose is lean and spot-on, every word carefully chosen
to enhance the milieu of her imaginary world and advance the plot, giving us
access to the thoughts, emotions and machinations of the people whose stories
she is presenting to us. Once again, she gives us a “thinking man’s” science
fiction/fantasy that explores the nature of power and sexuality, and how they
can be used, misused and abused. This is a brilliant, mature and very adult
novel that will not only leave you thinking about your own place in the
universe, but questioning the very nature of existence.” – Goodreads reviewer
I.In Mourning for the
Unrecollected
*Don’t miss the
previous books in the series!**
Best selling author Janet Morris began writing in 1976 and
published more than 30 novels, many co-authored with her husband Chris Morris
or others. She contributed short fiction to the shared universe fantasy series
Thieves World, in which she created the Sacred Band of Stepsons, a mythical
unit of ancient fighters modeled on the Sacred Band of Thebes. She created,
orchestrated, and edited the Bangsian fantasy series Heroes in Hell, writing
stories for the series as well as co-writing the related novel, The Little
Helliad, with Chris Morris. She wrote the bestselling Silistra Quartet in the
1970s, including High Couch of Silistra, The Golden Sword, Wind from the Abyss,
and The Carnelian Throne. This quartet had more than four million copies in
Bantam print alone, and was translated into German, French, Italian, Russian
and other languages. In the 1980s, Baen Books released a second edition of this
landmark series. The third edition is the Author's Cut edition, newly revised
by the author for Perseid Press. Most of her fiction work has been in the
fantasy and science fiction genres, although she has also written historical
and other novels. Morris has written, contributed to, or edited several
book-length works of non-fiction, as well as papers and articles on nonlethal
weapons, developmental military technology and other defense and national
security topics.
Janet said: 'People often ask what book to read first. I
recommend "I, the Sun" if you like ancient history; "The Sacred
Band," a novel, if you like heroic fantasy; "Lawyers in Hell" if
you like historical fantasy set in hell; "Outpassage" if you like
hard science fiction; "High Couch of Silistra" if you like far-future
dystopian or philosophical novels. I am most enthusiastic about the definitive
Perseid Press Author's Cut editions, which I revised and expanded.'
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